Metafísica I (Soul, Funk, Afrobeat, etc.)
-
Vengo a dejarles el primer disco de Vivian Reed, una soul sister del copón, aunque parece que no fue muy prolífica y se acabó dedicanco al musical.
Incluye versión bastante digna de la CANCIÓN 'You've lost that loving feeling' (aunque mejor no comparar con original, la verdad) y ese pepinarro que es "The shape of things to come".
El .rar lleva añadidas algunas bonus tracks como las versiones de God bless the child o Tired of being alone, gentileza de un señor que tiene un blog y que ahora no recuerdo ni encuentro cuál era, lo siento.
http://www.mediafire.com/?dwergmlimwm -
V.A. - EVEN MO' MOD JAZZ
Ahora mismo como que no tengo mucho tiempo para escribir, pero realmente este disco es de los que cualquier palabra sobra. Tengo, por ahora, tres discos de esta colección y los tres son imprescindibles. Poco a poco iremos pillando el resto. Pero este tiene un no sé qué que no se yo que lo hace imparable Hay una buena variedad: crooners y jazzman haciendo versiones soul (the great Jackie y Fitzgerald se salen), bluesman rompiendo la pana (ese Bobby Band y el tema de Frank Frost es cojonudo), jazzmen haciendo groove y modern jazz y, una debilidad personal, los crooners haciendo virguerías con lo que yo llamo “mob pop” o pop mafioso, ya saben: personal fijo en los casinos con amigos no muy recomendables y todo eso (el tema de Andy Williams es de traca traca traca)
No sé, pero a mí este disco me vuelve loco. Así que lo mejor será que las chicas se pongan ese vestido rojo ceñido y con escote generoso, y los chicos ese traje entallado y con corbata delgada y empiecen a chascar el pulgar y el anular. VIVA LAS VEGAS…..!!!!!!!
1. Another Plan For School Mix Up – The Cals
2. Hush - Woody Herman
3. Uptight (Everything's Alright) - Jackie Wilson & Count Basie
4. Get Ready - Ella Fitzgerald
5. Hang On Sloopy - Count Basie & His Orchestra
6. Honey Child - Bobby 'Blue' Bland
7. Ain't There Something That Money Can't Buy - Young-Holt Trio
8. Musty Rusty (part 1) - Lou Donaldson
9. My Back Scratcher - Frank Frost
10. Shimmy - Toussaint McCall
11. Light My Fire - Erma Franklin
12. Fever - Sharon Cash
13. I Heard It Through The Grapevine - Karen Hernandez
14. Secret Love - Billy Stewart
15. Unchain My Heart - Trini Lopez
16. Caesar's Pad - Googie Rene & His Orchestra
17. House Of Bamboo - Andy Williams
18. Feeling Good - Jean Dushon
19. Psychedelic Sally – Eddie Jefferson
20. The Point (part 1)- Aaron 'Chico' Bailey & The Family Affair Band
21. The Point (part 2)- Aaron 'Chico' Bailey & The Family Affair Band
22. I Got To See My Baby - Lee Jones & The Unforgotten Two
23. Ain't It A Groove - Dave Hamilton -
Getatchew Mekuria & The Ex & Guests-Moa Anbessa (2006.)
@218cim9s:
Getatchew Mekuria is the most revered veteran of the Ethiopian saxophone. In his seventies, he is still in full voice, with his own, powerfully distinctive style of playing. His huge vibrato, both forceful and fragile, plays around the vocal lines, using typical Ethiopian embellishments. He is the inventor of a musical style called the Shellele, which originates from a heroic war-chant, translated to the saxophone. When he plays it, he dons a lion's mane and cuts loose with furious solos that are a kind of free jazz, from before free jazz existed.
The Ex, often descibed as an avant-ethno-improv-punk band, toured Ethiopia twice and fell in love with its music. The Ex had their 25th year anniversary party in 2004 and they invited Getatchew to perform there with the ICP, the Instant Composers Pool, Holland's most amazing free-improvising jazz group. It was his first time traveling outside of Ethiopia but he accepted the ICP as if they were his own band, donned his lion's mane and blasted everyone off stage. He suggested to The Ex he should record his next CD with them. The result is unique; Getatchew's Ethiopian melodies and solos mesh with The Ex's rhythms, noise and vocals, supported by a guest horn section, like they were made for each other.A killer combination of sounds – the searing tenor sax of Getatchew Mekuria and the raspy guitars of The Ex -- brought together here in really unique cross-cultural formation! Mekuria's influence really transforms the sound of The Ex -- bringing their anarchic spirit into a strongly Ethiopian mode -- one that's further underscored by some great guest horn work on clarinet, alto, and trombone -- used like the kind of horn sections you'd find on Ethiopian recordings from the 70s -- which lets Mekuria really do his thing by soloing over the tunes with a great deal of feeling. There's a bit of vocals on the record from GW Sok, but the main vibe is instrumental -- and titles include "Ethiopia Hagere", "Sethed Seketlat", "Musicawi Silt", "Tezeta", "Almaz Yeharewa", "Che Belew
http://rapidshare.com/files/362072213/Getatchew_Mekurya___The_Ex_and_Guests_-_Moa_Anbessa_K.rar -
@kole:26e8g1hi:
Getatchew Mekuria & The Ex & Guests-Moa Anbessa (2006.)
bufff…. palabras mayores.... y después manel se queja de que le llame gurú.
-
De puta madre Kole, muchas gracias por esta perla!
-
@pulpo:1puojgnu:
@kole:1puojgnu:
Getatchew Mekuria & The Ex & Guests-Moa Anbessa (2006.)
bufff…. palabras mayores.... y después manel se queja de que le llame gurú.
voy a decir un disbarat, pero: el mejor disco de the ex, en mi opinión (empatado con starters alternators)
"hola buenas, getatchew, que somos los Ex, te vienes a tocar con nosotros?" -
Ernest Ranglin-Modern Answers to Old Problems
@1hvkngjq:
Few musicians blend pop and jazz as gracefully as 78-year-old Ernest Ranglin. His smash 1996 release Below the Bass line and follow-up Memories of Barber Mack effectively mixed jazz with reggae. On his last release In Search of the Lost Riddim (1998), the Jamaican guitar virtuoso extended his jazz-reggae recipe to include pop music from Senegal and vocals by Senegalese superstar Baaba Maal.
Modern Answers to Old Problems is similar to its immediate predecessor, but this time the focus is on jazz, reggae and Nigerian popular styles. Modern Answers offers steamy polyrhythms, raging grooves, buoyant melodies and clever improvisations. It's a terrific cross-cultural jazz release, and an irresistible listen.
A pioneer of both ska and reggae and an expert jazz guitarist to boot, Ernest Ranglin has played with Bob Marley, Jimmy Cliff, Sonny Rollins, Patti Page and Monty Alexander, to name a few. Marley once tried to hire Ranglin as his full-time guitar teacher and musical director, but the guitarist declined. Ranglin remains an understated guitarist with a keen sense of rhythm, and these days he is exploring the West African roots of Jamaican music.
He teams here with master rhythmist Tony Allen, the drummer who propelled Fela Kuti's classic Afro-funk in the 1970s. Drums stand at the forefront of the mix, a production gimmick that might annoy if a lesser musician were involved. But Allen is such a clever skinsman, his cranked-up drumming actually elevates Ranglin's music. Saxmen Denys Baptiste and Courtney Pine act as free-ranging foils for Ranglin's guitar work. And reggae singer Sylvia Tella (Steel Pulse) dazzles with her sultry, elastic singing on about half these songs. Tella wraps her multilingual voice around the syncopations generated by Ranglin, Allen and five London-based musicians, all of whom have Nigerian roots.
Modern Answers is funky, intricate, and it delivers one fiery solo after another. Highlights among the 10 original tracks include a lilting Afro-reggae piece called "Many Roots" and a danceable confection titled "Sound Invasion." Also noteworthy is "Inflight," an upbeat Latin-influenced composition featuring a lighting-quick solo by Ranglin, some far-out blowing by Pine, and Joe Bashorun's propulsive organ.
As Jamaican pianist Monty Alexander recently observed, Ernest Ranglin doesn't play reggae, jazz or blues - he plays all of them at once. There's a tropical accent to this album that's both languorous and lyrical. Modern Answers is as infectious as Fela Kuti's best material, and that's high praise.
Track listing: Memories of Senegal; Outernational Incident; Kunene; Many Roots; Profiles; What a Day; Swaziland; Sound Invasion; Inflight; Apinos
Personnel: Ernest Ranglin (guitar); Tony Allen (drums); Sylvia Tella (vocals); Chris Franck (percussion, rhythm guitar, berimbau); Joe Bashorun (Wurlitzer, organ); Orefo Orakwue (bass guitar); Olalekan Babalola (congas, percussion); Olakunle Ayanlowo (talking drum); Denys Baptiste (tenor sax); Courtney Pine (tenor sax, 1 track)
http://rapidshare.com/files/365495281/modern_answers_to_old_problems.rar -
Aleke Kanonu - Aleke
@3pboydqm:
ALEKE KANONU is an unknown Nigerian musician who played with numerous jazz artists in USA.
For instance, he played on the Stanley Cowell's album entitled "Regeneration" on "Strata-East" in 1976.
In 1980, he recorded this fantastic afro-beat album with many great jazz musicians.
If Fela Kuti or Manu Dibango is your kind of stuff, this album is likely not to dissapoint you!Aleke Kanonu - vocal & percussions (kalimba, congas, muted bells)
Buddy Williams - drums
George Davis - guitar
Wilbur Bascomb - bass
Ben Carter - acoustic piano
Bill Fischer - tenor sax & keyboards
Earl McIntyre - trombone
Milt Ward - trumpet
Wynton Marsalis - fluegel horn solo on "Home Sweet Home"http://rapidshare.com/files/365495262/aleke_kanonu_-_aleke.rar -
@2u2upx9q:
Timeless: The Composer/Arranger Series is the name of a concert series that was created in homage to the composer/arrangers who have influenced hip-hop in the most literal and profound ways. Timeless was conceived by production house Mochilla in Los Angeles during February and March 2009 and included the performances of over 150 musicians in front of ecstatic sold out crowds. These three historic events were recorded and filmed in exacting detail with Mochilla's unmistakable style.
From Mulatu Astatke to J.Dilla to Arthur Verocai, the Timeless Concert Series touched upon the works of three musical giants. Mochilla is proud to announce the release date of our 3 DVD Box Set with downloadable audio portion as April 2010! -
Como se lo curra el Kole, y el de V.A. - EVEN MO' MOD JAZZ esta davuti.
A ver si miro lo del Bambalan mayfield y te cuento.
Dejo esta entrevista que sale en el ultimo numero de Vice que le hacen a Theodoros Bafaloukos que esta cojonuda.
Las fotos son crema.http://www.viceland.com/es/v4n1/htdocs/ ... rs-305.php
-
No te preocupes Ecléctico, que en mayo me voy de viaje y no está el horno para bollos.
A ver si los de Barcelona se animan este viernes y se pasan por el 7 Sins, que
hay programa doble:Concierto de Hitabaldäas:
http://www.myspace.com/hitabaldaas (sobre las 23h, por 5€)Y luego Dj Soul Dust + Dj Mayfield (sobre las 00:30h, por 0 €).
-
VA -Good God! A Gospel Funk Hymnal ( The Numero Group 2006.)
@ywp86q0v:
A collection of this nature can only exist in hindsight. “Gospel Funk” is a genre in the same way that deep soul or acid folk are, created by collectors and enthusiasts as a way to define a subsection of another genre. There aren't any labels, artists, or producers that focused strictly on funky gospel music; rather, there were a couple hundred groups that had a funkier number in their repertoire. The Numero Group has spent the last year scouring LPs and 45s for tracks that fit this bill, and have collected 18 standouts from this newly minted genre. The album is a mix of primitive choirs, spacious breaks, congas, elderly rappers impersonating the devil, cast recordings, thumping bass, and JB impressionists, all with a heavy slathering of gospel gravy.
http://rapidshare.com/files/372762368/hymnal.rar -
VA - Good God!Born Again Funk ( The Numero Group 2010.)
@2akkv90b:
Numero Group’s Good God! Born Again Funk is a collection of what might be called secular church music. Its 18 songs set gospel’s preach to funk’s groove; they are the sound of the good word getting on the good foot. Together, they make for a rapturous listening experience that neither apostle nor apostate can deny.
In 2006, Numero Group released a previous Good God! record using similar sources. The songs here are culled from obscure vinyl published nearly four decades ago. Most are 45s and all seem to have been harvested from the dusty recesses of some grandfatherly deacon’s attic. Recorded by groups hailing from the Midwest, Chicago especially, the songs on Good God! represent different attempts at claiming popular music as an instrument of the lord. And not just any popular music — we’re talking about funk, one of the earthier genres America’s produced. That’s no small mission.
James Brown’s an obvious influence on the bunch — his frictionless guitar, plucking the same phrase with the steady timing of a clock’s gear, left a particularly deep impact. Sacred Four’s “Somebody Watching You” and Andrew Wartts & the Gospel Storytellers’s “Peter and John” are two of the more indebted acts to the Godfather. Other secular inspirations can be spotted, too. The Inspirational Gospel Singers’ beautiful “The Same Thing It Took” is an ode to, if not imitation of, Aretha Franklin (who, it goes without saying, straddled the popular and the parochial throughout her career), the synthesized keys of Lucy “Sister Soul” Rodger’s “Pray A Little Longer” register like a more lockstep riff on Innervisions, and damned if the Chicago Travelers’s singer doesn’t sound like a ruffled Bill Withers.
Of course, the material on Good God! lacks the production value of its mainstream contemporaries. But that doesn’t impede here — if anything, it makes these songs motor harder. Credit that also to the relatively stripped accompaniments. The instruments are largely limited to the rhythm section — guitar, bass, drums — with sometimes a piano or keyboard added. Horns are notably absent. Without any brass or the depth of a mixing board, the songs find themselves supported on two pillars: the competing forces of the beat and the word. That, of course, is the very duality that Good God! wants to showcase. But that simple juxtaposition is more than a novelty. It is the reason why these songs are so urgent — it’s why they sound so immediate 35 years after the fact.
“Like a Ship,” Good God!‘s opener, places a piano, drums, Pastor T.L. Barrett’s calls, and a towering children’s chorus in a room seemingly brimming at capacity. The closeness of the space — the way that the players seem to overpower what the microphones were capable of capturing — may render some of the words unintelligible. But it also produces something haunting, a feeling or connotation that exceeds the lyrics of salvation. “Like a Ship” is soul — not the soul of pop music, but the soul of the spiritual — and is Good God!‘s most moving track.
Other songs move too, though in a more physical sense. Take “If Jesus Came Today,” which sounds like a precursor of Parliament’s more tailored efforts, or Ada Richards’ rocker “I’m Drunk and Real High (In the Spirit of the God),” which, with its dichotomous title, makes Good God!‘s point succinctly. It’s enough to make you question the conventional distinction between secular and religious in pop music. Who knows? Maybe James Brown was getting at something other than a bodily high when he was singing “I Got the Feeling.”
http://rapidshare.com/files/372762372/born_again.rar -
Ginger Baker -Stratavarious (1972)
@2k7djuli:
In 1971, after several years of musical experimentation following the breakup of the super-group Cream, British drummer Ginger Baker made his way to Lagos, Nigeria, where he helped set up EMI's new 16-track recording studio. It was here that Baker re-united with his friend Fela Anikulapo Kuti (then known as Fela Ransome-Kuti) and recorded Stratavarious (Atco SD 7013), one of the first collaborations between an African musician and a Western rock star.
To the best of my knowledge, Stratavarious has been out of print ever since it was released in 1972 and consigned to oblivion shortly thereafter, although one or two cuts from it may have been included in compilations. It is very much Ginger Baker's "thing," although Fela plays an important role on several tracks. Also present is Fela's American girlfriend Sandra Izidore (credited as "Sandra Danielle").
Strativarious is a fascinating look at a magic time when rock, jazz and Afrobeat were taking their first tentative steps toward each other, and a harbinger of fusions to come. It certainly deserves more attention than it's gotten.
Fela and Sandra Izidore take center stage on Side 1 of Stratavarious. Izidore provides vocals on "Ariwo," an adaptation of a Yoruba folk tune, and Fela sings lead on "Tiwa," with Sandra included in the backup chorus. Fela plays keyboard on both tunes.http://rapidshare.com/files/373121881/Baker-_Kuti_-_Stratavarious_K.rar -
Mulatu Astatke - Mulatu Steps Ahead (2010)
CD rip,mp3,320 kbps,130 MB
http://rapidshare.com/files/375450009/MuAs.rar -
discarral impresionante el de Baker y Kuti
pero yo venía a enlazar un recopilatorio de clásicos y nuevas lanzas de la música aborígen australiana:
"Aboriginal Soul" (2010)
@so3vaqrj:
01 - Saltwater Band - Djilawurr [03:40]
02 - Archie Roach - Liyarn Ngarn [04:36]
03 - George Rrurrambu - Ronu Wan [03:32]
04 - Mark A. Hunter - Legend [06:07]
05 - Saltwater Band - Gopuru [04:00]
06 - Wildflower - Manginburru Bi [03:21]
07 - Nabarlek - Little Journey T [05:28]
08 - Shellie Morris - Swept Away [04:53]
09 - Dan Sultan - Your Love Is L [04:24]
10 - Ruby Hunter - Down City Str [07:27]
11 - Peter Rotumah - Remembrance [07:00]
12 - Tom Lewis - Sunshine After [06:26]
13 - June Mills - I'll Be The On [03:45]
14 - Nabarlek - Mawah [04:38]http://rapidshare.com/files/376976650/soul.rar -
No consigo encontrar enlace a "Bubu King", el primer EP de este señor, pero, si más no, disfrutad de su myspace, samplers y cánticos africanos sobre ritmos rápidos, sintéticos y esqueléticos:
Janka Nabay
http://www.myspace.com/jankanabay
-
Janka Nabay-Bubu King [True Panther 2010]
@b1q5062u:
Many of us know Sierra Leone for one thing: diamonds. Specifically, "blood" or "conflict" diamonds, gems mined by some of the world's poorest people and subsequently used to fund warfare that further endangers those impoverished individuals. Thanks to a song by Kanye West and a film starring Leo DiCaprio, Western audiences have recently been widely exposed to horrors taking place in Sierra Leone since the early 1990s. But voices originating from the country itself, addressing its struggles and disseminating its unique national character, have been in short supply in the West.
Musically, Sierra Leone likewise hasn't established a global presence on par with West African neighbors like Nigeria and Mali. Enter Janka Nabay, a Sierra Leone native who escaped the country during the bloody 90s and is now bringing its music to new ears as a transplanted resident of Philadelphia. Specifically, the sound Nabay makes is known as bubu music, a genre rooted in the rhythms of funeral processions conducted by the Muslim Temne people of the country's northwest region. Bubu is traditionally produced by large groups of players blowing on bamboo shoots, accompanied by shakers, triangles, and thudding pulse-beats pounded out on large wooden boxes. Nabay severely strips down this setup while preserving its teeming twitchiness, using keyboards and carburetor pipes to create a minimal but undeniably kinetic brand of music that he weds to socially conscious lyrics.
Bubu King is an EP of four songs Nabay recorded before departing Sierra Leone and represents the first-ever commercial release of bubu music in the West. Considering these tracks have been sitting in the can for about 15 years, the frequent modernity of their sound is remarkable, starting with the opener, "Top Sul Bah", which pairs rattling percussion with dreamy synthesized tones. Of course, Nabay makes such minimalism all his own with the chanting intonations he lays atop the beat– the song's title translates as "What's Going On", and that's exactly what Nabay wishes to convey. The succeeding track, "Eh Congo", ratchets up the politicized content with references to John Kennedy and allusions to the humanitarian influx of wheat and clothing, though the music's repetitive pipe pattern ultimately drags over the song's five minutes.
More sonically successful and even more socially charged, "Good Governance" boasts a busily skittering beat intermittently supplemented with a wonderful descending keyboard melody, with lyrics (in English) that call earnestly but admirably for democracy bolstered by the participation of women. Bubu King then closes with the lovely but anomalous "De Debul", a beautiful guitar-laden track that seems much more in line with the melodic West African stuff we in the West have been devouring with particular gusto in recent years. It's a nice tune, but a touch less distinctive. Here's hoping this EP inspires Nabay to share more of Sierra Leone's uniquely engaging bubu music down the road.
http://rapidshare.com/files/381382351/Para_Kanchelskis.rar -
jajaja grande kole
-
Este lunes pudimos escuchar en BJM una perlita de high life from Ghana in the fifties. Toques jazz, melodías fáciles, vientos, agradables voces. Lo mejor para pasar un buen rato en este miércoles tan feo, al fin y al cabo hay sol.
The Black Beats - Tropical Rythm
http://www.mediafire.com/?wlzmtmzinzy
){kind=link}
Hello! It looks like you're interested in this conversation, but you don't have an account yet.
Getting fed up of having to scroll through the same posts each visit? When you register for an account, you'll always come back to exactly where you were before, and choose to be notified of new replies (either via email, or push notification). You'll also be able to save bookmarks and upvote posts to show your appreciation to other community members.
With your input, this post could be even better 💗
Registrarse Conectarse